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A CurtainUp California Review
Iphigenia at Aulis
Euripides' last play is one of the most intense dramas ever written about the twisted logic and self-serving motives of men at war. Using Don Taylor's new adaptation of the 5th-Century BC play San Jose Rep and their visionary Artistic Director Timothy Near explore how far a nation's leader will go to secure power.
It is 1200 B..C. (The program notes describe the Time as "Both then and Now.") and the Greek fleet has assembled in the port of Aulis ready to launch an attack on Troy under the pretense of rescuing the beauteous captive Helen, wife of Menelaus. In truth they want to capture the resources of the great city-state. The Greek Commander-in-Chief Agamemnon (tall, stately Remi Sandri) arrives boldly on the scene, dressed like a CEO in a blue Armani suit, eager to lead his country's youth into an endless war.
The innovative style of the production is set by The Dance Brigade, San Francisco's modern dance company, whose imaginative technique and use of drums accompanying the action inspires the work, This chorus acts as a band of dancing groupies, star-struck by the celebrities on their shores, readying for war.
When the wind suddenly drops and the ships stand idle, t he restless army grows anxious, as does their General Agamemnon who is danger of losing his command. He consults the priest, who declares Agamemnon must sacrifice his beloved daughter Iphigenia, in return for favorable winds. He acquiesces to his desire for power.
A ship arrives carrying Iphigenia (innocent and pretty Sarah Nealis) and her mother, Agamemnon's wife Clytemnestra (played with motherly pride by Stacy Ross). Both believe the young girl is to marry the hero Achilles. The Dance Brigade, acting as the greeting chorus, stands in for the conscience of the people. All are soon to be swept away by the ominous warnings and overblown victory spin. Only Clytemnestra resists to the end.
As in the film Troy, Achilles (Craig W. Marker), is the Brad Pitt of the Trojan War, strutting about in fatigue shorts and a T-shirt emblazoned "ARMY." Overcome by the pageantry, the squealing women of the chorus scurry down to get their picture taken with hunky Achilles.
Eventually, even Iphigenia blindly follows orders, and gives in to the propaganda of the military cause. Her sacrifice is carried out offstage -- leaving a slight hope that she may have escaped.
At the post performance Director Near said, "The sad part is that Iphigenia is brainwashed, like our own young people who buy that they should enlist and go off and kill other people's children."' This is the artist as activist.
LINKS TO OTHER PRODUCTIONS OF THE PLAY
Iphigeneia at Aulis-- London
The Iphigeneia Cycle: Iphegenia at Aulis & Iphigenia in Tauris
Iphigenie en Taurus --opera
Iphigeneia at Aulis -- Pearl Theater
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Iphigenia at Aulis Adapted by Don Taylor from Euripides Directed by Timothy Near; Assistant Director/Choreographer: Krissy Keefer Cast: - Remi Sandri, Stacy Ross, Craig W. Marker, Sarah Nealis, Andy Murray; Greek Chorus: Tina Banchero, Sarah Bush, Lena Gatchalian, Krissy Keefer, Emily Rosenthal. Scenic Design: Kris Stone Sound Design: Jeff Mockus Drumming Composition: Bruce Ghent Costumes: Anna Oliver Lighting: Lap-Chi Chu Running time: 2 hours, one intermission Through 5/28/06 San Jose Repertory Theatre 101 Paseo de San Antonio (408) 367-7255, www.sjrep.com Tickets: $11-$55 Reviewed by Phyllis Butler May 6, 2004 |
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